News/Lo Nuevo
Marzo Diciembre 2009
2009 YEAR OF PERFORMANCE CONCEPTUAL AND INSTALLATION
Marzo Diciembre 2009
San Cristobal de las Casas, Chiapas Mexico
A year of PERFORMANCE CONCEPTUAL AND INSTALLATION will be brought to you by Galeria Studio Cerrillo.
Marzo Zteid Giarc BLUE ICE
Junio June Queen Iris
14 November 2008
NY Times Blog on San Cristóbal
14 November 2008
Great, informative post on San Cristóbal in the New York Times' Frugal Traveler blog.
March to December 2010
PIC 2010
March to December 2010
Galeria Studio Cerrillo
g S c
galeria studio cerrillo
calle tonala #19a
san cristobal de las casas, chiapas mexico
proposal@studiocerrillo.com
www.studiocerrillo.com
Hola from the heart of Chiapas: San Cristóbal.
SAN CRISTOBAL
Mixing of cultures in the barrios, streets and cafes of San Cristóbal gives rise to a multiplicity of artistic possibilities, a blending and merging of creative processes, an acceptance of the new and an openness to all who care to explore their creative self.
San Cristobal’s heart needs some inspiration; it needs art that is cutting edge, art that is performance, installation and conceptual: A wave to the past and a salute to the new.
After simmering for decades San Cristóbal is ripe for an artistic movement, a centering of creative pursuits and an experimentation in mixing of cultures.
WHO WE ARE
Galeria Studio Cerrillo has been exhibiting fine art since 2002, with over 60 month long exhibits. We have shown alternative arts for several years and we are passionate about the possibilities of this medium as a catalyst for art in San Cristobal.
Commencing in 2009 Studio Cerrillo offered a year of performance, conceptual and installation art, PIC 2009. 2009 was successful and very rewarding for the gallery, for the artists who ventured forth to San Cristobal and for the clients of the gallery. The artists who exhibited in the gallery during 2009 were mainly from Mexico Violeta Luna, César Cortés, Vero Cristiani, Heidi Aguilar, Shingo Kuraoka, Juan Carlos Ruíz Faviel, Juan Carlos de la Para, Fernanda del Monte one from San Cristobal: Theo Toy and two artists who came from outside of Mexico, Maya Haviland from Australia, Zteid Giarc from Bulgaria.
Please visit our web page: www.studiocerrillo.com to see the works of each artist.
IDEA
We are seeking an original concept created for our gallery which is 4.6 /4.6 and /3.2 meters in height with an open space that allows for suspension and an additional creative environment, 15 liner meters of exhibition space, a back patio 3 / 7 meters and the street which is easily closed for the day and night of the inauguration, thus allowing the connected spaces to serve as an excellent venue for the artist.
THEME
OPEN
REQUIREMENTS
Projects submitted for PIC 2010 need to be performance, installation or conceptual to be considered. We are specifically seeking original works that are designed specifically for our space. We want ideas that push the edge of each individual artist and the audience. Whether MODERN, SEXUAL, SATIRICAL, REACTIONARY, POLITICAL or PROHIBITED, we want each artist to explore the outer edge, to create a new work and to have fun.
We will accept proposals based on clarity and strength of the artist’s presentation. Each show will run for three weeks or less depending on the artist desires or if we have several performance shows in the same month.
STYLES OF ART
PERFORMANCE
Performance art is art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. It can happen anywhere, at any time, or for any length of time. Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience. Wikipedia. *
The gallery would like to have two performances a month by different artists, a total of 8 shows for the year. The performances should be brief, 8 to 14 minutes thus allowing two shows a night; ideally the shows can be different.
CONCEPTUAL AND INSTALLATION
Conceptual, “Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns …conceptual art is an art which questions the very nature of what is understood as art, Tony Godfrey,” Wikipedia.**
Installation art,“uses sculptural materials and other media to modify the way a particular space is experienced. Installation art is not necessarily confined to gallery spaces and can be any material intervention in everyday public or private spaces, Some installations are site-specific in that they are designed to only exist in the space for which they were created.” Wikipedia.***
COMMITMENT OF THE GALLERY
Galeria Studio Cerrillo will support the exhibition by opening our creative space, promoting the show through local media, produce invitations and the opening and offer a place to stay for three to four nights and some meals. We can confidently offer our eight years of experience producing shows from the basic to the sublimely complicated. As a promoter of monthly shows we can utilize this experience to assist each artist to fulfill their projects. Art shown in Galeria Studio Cerrillo can be a vehicle to communicate and to inspire, to push others to create their own unique visual point of view and perhaps be the catalyst for a movement Chiapanecan.
DATES for SHOWS
The year 2010 will begin in March and end in December.
INFO
Please take a look at our web site:
http://www.studiocerrillo.com
This is a link to a November 2008 article in the New York Times.
http://frugaltraveler.blogs.nytimes.com/2008/11/14/frugal-mexico/
We sincerely hope that each of you consider our offer to exhibit in Galeria Studio Cerrillo during 2010 to explore the magic of San Cristobal and share with our people the passion of your work. Please contact us with any questions, suggestions or commentary.
Thanks,
Cisco
Director
g S c
967 678 5727
Cel 967 106 3430
proposal@studiocerrillo.com
* http://en.wikipedia.org/wiki/Performance_art
** http://en.wikipedia.org/wiki/Conceptual_art
*** http://en.wikipedia.org/wiki/Installation_art
Performance ART Rising
NEW YORK Times Sunday 14, marzo 2010
Performance Art Gains Favor; Fights Ensue
ONE snowy night last month, as New Yorkers rushed home in advance of a coming blizzard, more than a hundred artists, scholars and curators crowded into the boardroom of the Museum of Modern Art to talk about performance art and how it can be preserved and exhibited. The event — the eighth in a series of private Performance Workshops that the museum has mounted in the last two years — would have been even more packed if it weren’t for the weather, said Klaus Biesenbach, one of its hosts and the newly appointed director of the P.S.1 Contemporary Art Center. After seeing the R.S.V.P. list, he had “freaked out,” he said, and worried all day about overflow crowds.
Marina Abramovic in “Holding Milk” (2009) from “The Kitchen Series.” More Photos »
As it was, he and his co-host, Jenny Schlenzka, the assistant curator of performance art at the museum, were surrounded at the conference table by a Who’s Who of performance-art history, including Marina Abramovic, the 1970s performance goddess from Belgrade whose retrospective, “The Artist Is Present,” opens Sunday at MoMA; the much younger Tino Sehgal, whose latest show of “constructed situations,” as he terms them, just closed at theGuggenheim Museum; Joan Jonas, a conceptual and video art pioneer of the late 1960s who usually creates installations that mix performance with video, drawing and objects; and Alison Knowles, a founding member of the Fluxus movement who is known for infinitely repeatable events involving communal meals and foodstuffs.
Also in the room were interdisciplinary art stars like Terence Koh, Tony Oursler and Jack Pierson, the endurance performer Tehching Hsieh, as well as curators from other institutions, including Chrissie Iles of the Whitney Museum of American Art; Nancy Spector, chief curator of the Guggenheim; Jeffrey Deitch, the incoming director of theMuseum of Contemporary Art in Los Angeles; and RoseLee Goldberg, the founder of the Performa Biennial in New York. There were many less familiar faces too, from artists in their 30’s to more obscure older members of the performance-art world, whose interest in the workshop — which is seen as a place where important discussions about the history and future of their genre is happening — has doubled the original invitation list.
It was a scene that would have been hard to imagine just a few years ago, when major American museums, even those with an avowed interest in performance art, did not consider it central to their missions. But as work made in the 1960s and ’70s — the era when modern-day performance art really took off — has increasingly come to seem the stuff of art history, and as more young contemporary artists have gotten involved in performance, that attitude has been changing. And nowhere has the shift been more dramatic than at MoMA, the country’s most powerful arbiter of 20th- and 21st-century art, which has made up for being late to the table by digging in enthusiastically.
Not that the growing relationship between museums and performance art is entirely smooth. In the ’60s and ’70s, after all, the genre was fed by a desire among artists to turn away from the market — and the museum — with work that was ephemeral, unsalable and uncategorizable. There was a whiff of rebellion in the air at the MoMA workshop, for example, when Mr. Sehgal gestured at the glossy rosewood conference table before him. “This is a new touch,” he said, his voice tinged with acid. “I’m not sure whether there’s ever been such a salon around such a corporate table before.”
And as the talk turned to money, the acid splashed back toward Mr. Sehgal, who in his brief career — he is just 34 — has started an approach to selling performance art that is both providing museums with a new way to take ownership of it and enriching himself. In the past, performance artists have often sold photographic or video documentation of performances, say, or props and other artifacts left over after the events. But Mr. Sehgal is believed to be the first to have sold the rights to the performance itself; MoMA, for one, recently spent a reported $70,000 for an edition of “Kiss” (2004), a living sculpture that was on loan to the Guggenheim for the recent show and that requires its performers to stay locked for hours in a continuous, balletic embrace.
“Can you tell me how you did this?” Ms. Abramovic asked in her heavily accented English, seeming genuinely interested. “Is really something I want to know.” Others, however, made it clear that they were less thrilled by his entrepreneurialism: “When I began in the late ’60s, I didn’t think about selling my work,” one artist yelled. “It just wasn’t something that you thought about.”
Even the notion that certain works of performance art can or should be restaged after a piece’s original incarnation, central to Mr. Sehgal’s notion of selling rights and to shows like the Abramovic retrospective — and more generally to the increasing involvement of museums in performance art — is not without controversy. While some artists like Ms. Knowles create work meant to be repeated, with the presumption that it will be different each time, others feel that attempting to restage a work regardless of its original context — the social and political climate, the kind of art it was reacting to — is a perversion of its essence.
Ms. Abramovic, who once opposed the idea of recreating her past work, is now the leading avatar of reperformance, as it is sometimes called. In her MoMA show younger performers are re-enacting five of her old pieces, like “Luminosity,” an event in which Ms. Abramovic hung naked on a wall in a gallery, as if floating or crucified, for two hours at a time in 1997, and “Imponderabilia,” a 1977 piece in which she and her former partner and lover, Ulay, stood naked in the main entrance of the Galleria Comunale d’Arte Moderna in Bologna, forcing visitors to squeeze past them.
“Reperformance is the new concept, the new idea!” Ms. Abramovic proclaimed at the workshop. “Otherwise it will be dead as an art form.”
By CAROL KINO
Published: March 10, 2010
NY TIMES
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